One of the first conversations production designer Alex Holmes had with “The Invisible Man” director Leigh Whannell was about grounding the film in reality and treating it like a psychological thri…
was about grounding the film in reality and treating it like a psychological thriller, rather than a horror or science-fiction movie.
He did his homework researching invisibility technology and learning how objects become invisible by going to the University of Sydney and speaking to professors there. “I had long chats with Jim Rabeau, a physics professor. He was a great help. He said, ‘In theory, invisibility is kind of possible, but it’s a long way down the track and you have to do years and years of testing.’”
Once the home was designed and built on a studio set, cinematographer Stefan Duscio made sure not to light the sets in an overly dark way, and Whannell wanted to make sure the lights were on to make it feel like it was a normal house. “Stefan lit it to make it scary. If they lit with shadow, it doubles up on what was already there,” Holmes says.
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